By J. Cheryl Exum
Plotted, Shot, and Painted: Cultural Representations of Biblical ladies (Gender, tradition, thought three) (Journal for the learn of the outdated testomony complement sequence 215)
260 pp. 'This provocative selection of essays starts off the place Exum's previous literary-feminist examine, Fragmented girls, left off: with the wondering of the androcentric bias of the biblical textual content and with the purpose of subverting its patriarchal viewpoint. It strikes directly to stake out new territory for feminist biblical feedback via contemplating what occurs to biblical girls in pop culture; in paintings and in movie and via foregrounding questions about the methods gender pursuits have an effect on interpretation and in regards to the roles and duties of commentators and readers.'Keywords: faith biblical studies BIBLICAL ladies CHRISTIAN religion CHRISTIANITY WOMEN'S reports FEMINISM FEMINIST concept
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Extra info for Plotted, Shot and Painted: Cultural Representations of Biblical Women (JSOT Supplement)
Consider Michelangelo's famous David (fig. 15). His pose is not modest; rather it suggests prowess and self-assurance. Not simply physical perfection but also inner strength, or divine favor, seems to be presented in this ideal specimen of masculinity. This is a young, vigorous David in, we suppose, the days God smiled upon him—more a young Richard Gere than a jaded Gregory Peck. His pose suggests activity and purpose, in contrast, for example, to the Bathshebas we looked at, who sit or stand passively, and whose shameful or frightening genitals are hidden, by crossed legs or a part of a robe or gown.
The quotation is from Bal, p. 226, citing Gary Schwartz, Rembrandt: His Life, His Paintings (Harmondsworth: Penguin, 1985), p. 292. 30. Berger (Ways of Seeing, p. 56) makes this point about most post-Renaissance European painting of the nude. 1. Bathsheba Plotted, Shot, and Painted 33 The navel, the center of the body, had to be displayed so that the viewer could collude with David's voyeurism, but the display itself—its artificiality—had to be emphasize++d. Whereas Bathsheba's body is turned toward us, offering itself to our view, her head is turned away, indicating her reluctance to be seen.
She is filmed in hues of red and orange, colors that, as in the painterly tradition, suggest sensuousness and concupiscence, while David is filmed in the cold blue of the evening. The 1980s production, however, leaves less of the erotic for the imagination. From David on the roof, the camera moves to Bathsheba bathing, seen from a distance that repre- 1. Bathsheba Plotted, Shot, and Painted 47 sents David's perspective. Then we see his face again, and a slightly closer view of her bathing. She is naked, and she is not, like Susan Hayward, bathing behind a screen.